Javed Akhtar reacts to Dhurandhar being addressed as a propaganda film: “What is wrong with propaganda films?”

Veteran lyricist and screenwriter Javed Akhtar recently weighed in on the ongoing debate surrounding the success of Dhurandhar and its sequel Dhurandhar The Revenge. Speaking at a recent event where he was felicitated for his contribution to cinema, Akhtar addressed claims that the films lean into propaganda-driven storytelling. Responding to the question, Akhtar dismissed the criticism and expressed his appreciation for the franchise. "I don't know what you mean by propaganda films. I loved Dhurandhar; it was an excellent film. I liked the first one more than the second." He went on to elaborate on the larger debate around storytelling and perspective in cinema. "Every story takes a stand, but does it become propaganda because the narrative doesn't suit a section of the audience? Everyone has the right to propagate their ideas. What is wrong with propaganda films? The task of every filmmaker is to present the truth." Akhtar’s remarks come at a time when Dhurandhar and its sequel have been widely discussed for their strong thematic undertones rooted in patriotism and national identity. The first installment, which released to significant box office success, was praised for its gripping narrative and emotionally charged storytelling. It revolved around themes of duty, sacrifice, and loyalty, striking a chord with audiences across the country. Building on that momentum, Dhurandhar The Revenge expanded the narrative, delving deeper into the consequences of past actions while amplifying its political and emotional stakes. While the sequel performed well commercially, it also sparked a more polarised response, with some viewers questioning its ideological positioning. Addressing this divide, Akhtar acknowledged that interpretations can vary. He maintained that while films may reinforce certain ideologies or moral standpoints, it does not necessarily make them problematic. Instead, he suggested that such narratives often reflect the filmmaker’s vision and the socio-political climate in which they are created. He also highlighted that Dhurandhar succeeds in reinstating values such as patriotism and moral responsibility, even if certain aspects may be perceived differently by sections of the audience. As conversations around content, intent, and representation continue to evolve, Akhtar’s perspective adds another layer to the ongoing discourse—raising questions about where storytelling ends and propaganda begins, and whether the distinction is always as clear as it seems.